Not To Touch The Earth

The Doors · Waiting For The Sun [1968]

Not to touch the earth

Not to see the sun

Nothing left to do, but

Run, run, run

Let's run

Let's run



House upon the hill

Moon is lying still

Shadows of the trees

Witnessing the wild breeze

C'mon baby run with me

Let's run



Run with me

Run with me

Run with me

Let's run



The mansion is warm, at the top of the hill

Rich are the rooms and the comforts there

Red are the arms of luxuriant chairs

And you won't know a thing till you get inside



Dead president's corpse in the driver's car

The engine runs on glue and tar

Come on along, not goin' very far

To the East to meet the Czar



Run with me

Run with me

Run with me

Let's run



Whoa!



Some outlaws lived by the side of a lake

The minister's daughter's in love with the snake

Who lives in a well by the side of the road

Wake up, girl, we're almost home



Ya, c'mon!



We should see the gates by mornin'

We should be inside the evenin'



Sun, sun, sun

Burn, burn, burn

Soon, soon, soon

Moon, moon, moon

I will get you

Soon!

Soon!

Soon!



I am the Lizard King

I can do anything

Not To Touch The Earth

Released in 1968 on The Doors' debut album, "Not To Touch The Earth" stands as a defining track that encapsulates the band's unique fusion of rock, jazz, and poetic lyricism. The song features Jim Morrison's distinctive vocal delivery, characterized by a rhythmic, almost spoken-word cadence that builds into a hauntingly beautiful melody. Morrison's lyrics explore themes of cosmic insignificance and the human tendency to overestimate their power over the natural world. The refrain warns against the arrogance of trying to alter the fundamental laws of physics, suggesting that humanity's greatest folly lies in believing it can conquer the earth rather than accepting its place within it.

Musically, the composition relies heavily on the interplay between Morrison's vocals and the band's instrumental arrangements. Ray Manzarek's electric piano provides a lush, swirling backdrop that mimics the feeling of floating or drifting through space, while John Densmore's drums maintain a steady, hypnotic pulse. Robby Krieger's guitar work adds texture with its use of feedback and reverb, creating an atmospheric soundscape that complements the song's ethereal mood. The track avoids traditional verse-chorus structures in favor of a more fluid, improvisational approach that reflects the psychedelic influences permeating the late 1960s counterculture.

The recording session took place during the band's initial rise to fame, capturing the raw energy and experimental spirit of their early work. While the song did not appear on the original 1968 album, it was included on the 1969 reissue titled "Waiting For The Sun" and has since become a staple of The Doors' discography. Its inclusion on the 2008 remastered edition of "Perception" further cemented its status as a classic. The song's enduring appeal lies in its ability to evoke a sense of wonder and melancholy, resonating with listeners who appreciate music that blends intellectual depth with emotional intensity.

Critically, the track has been praised for its innovative use of sound and its contribution to the development of the psychedelic rock genre. It exemplifies The Doors' ability to create songs that are both musically complex and lyrically profound. The song's themes of cosmic perspective and human limitation have made it a favorite among fans and musicians alike, often cited as a prime example of the band's artistic vision. Its legacy continues to influence artists across various genres, from alternative rock to indie folk, who seek to capture a similar sense of ethereal beauty and philosophical inquiry.